reviews

Monique Monet’s Revolutionary Dance is a fresh commentary on the widely varied origins and evolution of belly dance. Beginning with Inanna and temple dancers, the story winds its way through associations with childbirth rituals to the influence of patriarchy and finally ends with modern day affects of the media.

Monet challenges the “authorities” in dance, pointing out the inconsistency in stories. She acknowledges and credits that all have validity for some people at some point in time, while posing the question of what it means to be a dancer in modern society. She suggests that serious students may be held back by perpetual teachers who think that the student may need “just one more lesson.” She illustrates this point with a quote from a Gypsy dancer who says, “Dance lessons? Why? That’s for people who are not Gypsy.” She also speaks against the media message of women not being the right age, right size, and right shape. Monet advocates for the dancer to just “please yourself.”

Monet accentuates her story with a beautifully chosen blend of photographs, historical images, film clips, and backdrops.

These images, combined with well-chosen music, punctuate Monet’s articulate narration, giving the viewer a clear understanding of her points of view.

The idea of “Revolution” sums up her message. To Monet, revolution refers to freedom from restriction in the dance. She says there is no right. No wrong. No mistakes. No rules. Only you and your dance.

Segments of Monet dancing are interspersed throughout the video. This is a useful inclusion that allows the viewer to see the embodiment of her words in motion.

Although informative, the unexpected inclusion of humor makes this also a joy to watch. It is quite unlike a documentary in that respect. Monet’s creativity goes for maximum hyperbole and works magnificently.

The video loses momentum with the inclusion of the telephone interview with Middle Eastern man, Alaoui Zagora. Although it appears to be meant to bolster Monet’s commentary, it slows down the flow and is a bit distracting. If cut from the video, it would be the perfect length. At approximately 40 minutes, it’s just a tad too long.

Monique Monet’s Revolutionary Dance should be rated G, and is indeed appropriate for general audiences. I recommend this video particularly for every dance instructor’s library. It is a fabulous teaching tool. Even if the instructor does not agree with the opinions stated within the video, it gives a concise rundown of the current prevailing theories that can be a jumping off point for discussion. For non-dancers, it is a positive representation of our dance form.

At $20, this video is affordable. Monet has no objection to the video being used to benefit contemporary Middle Eastern dance or the Romany people. These factors make it a good buy and an obvious choice for those seeking to educate the public and uplift the dance.

My group and I had the good fortune to take a class with Raqia Hassan during my last tour to Egypt in March 2006. Like most things in Egypt, we weren’t sure it was going to happen. I called Raqia before leaving the United States and she said she would be out of town during most of our stay, but would return two days before we left and that we could see her then. On the appointed day, I called and was told that Raqia would not be returning after all. I called the next day to see if we could study with Raqia’s assistant instead and Raqia answered the phone! We had plans to do a Nile dinner cruise so the only time to squeeze in a class would be afterward. Dressed in our evening finery, we arrived at 10:30 p.m. on the evening before our return to the United States ready to dance.

Raqia Hassan is a generous teacher. She kept her eye on all of us, gently correcting as we went along. She explained in clear English why she wanted things a particular way. In each correction, there was a subtle emotional or energetic difference that demonstrated the difference between the “wrong” way and Raqia’s way. Each time the subtle emotional or energetic difference was done either in the “wrong” way or her way.

Each explanation brought the class closer to understanding the essence of Egyptian style.

One of the most valuable things I took away from Raqia’s class was the practice of “becoming” during rehearsal. Whenever the music started, Raqia went from being the teacher to being the teacher/performer. Any time she moved, she moved as if her whole being were on stage. Her performing persona was always visible yet she never took her eyes off us. Seeing that made me want to follow with the heart, not just the body.

Raqia Hassan kept the class fun, warm, and entertaining. We all enjoyed her so much that we bought a stack of her instructional DVDs and music. We wanted to take her back with us to the USA in whatever small way we could.

I have been dancing for ten years and this was my first time seeing Raqia. I have been to Egypt many times and Raqia has been to the USA.

There was always a reason to put off a class. I deeply regret the time wasted in not seeing her before now.

For those of you who have not yet seen Raqia, put it on your list of things to do NOW. Do not wait as I did. (And video study doesn’t count. I have had her videos for years, and it is not the same thing.) Her teaching style is easy to understand. Her material is different from others’. It’s emotional, passionate, connected to the music and the culture which gives Americans an opportunity to feel and express the dance through an Egyptian perspective. Raqia is giving and accessible. You feel as if you have made a friend when you are with her. I highly recommend studying with Raqia.

The intriguing title Grandmother’s Secrets captured my curiosity before I ever turned the first page. It conjured visions of the wise things a little girl might learn from her grandmother and the mysterious ways in which these secrets would unfold. And indeed the book begins just that way. Al-Rawi speaks in a comfortable,warm voice as if she is telling her story right beside me. I feel as if I am looking through her big, questioning eyes, seeing her familiar surroundings and basking in the security of it all. The revelations of growing up in Iraq are strange and wonderful. I want to know more, but then at the crest of puberty, the story ends. Only 26 pages into the book, I am not sure where it can go from there.

With the turn of the page, the story strangely and abruptly switches from this friendly pace to a textbook. Part Two: A History of Women’s Dancing, is another book unto itself. This might be fine if I were interested in study, but after such a personal glimpse into the private world, my new surroundings seem cold and sterile. The intention is to take us back to where the dance began and show us its progression, but the transition is strange and never goes quite weave it all together in a convincing way. If I didn’t already have a sense of the history of women in dance, I might be very confused indeed.

Intertwined with this historical information lies many of the author’s impressions and conclusions. While Al-Rawi’s words can be inspiring, some readers might find themselves unable to distinguish what is historical and what is opinion.

Part Three is entitled From Head to Toe. This section attempts to explain the body movements of belly dance. While I believe it is better to have some kind of written resource than none, these explanations are not quite clear. Instructions like, “open your shoulders” and “sit in yourself” are best demonstrated in person. The stories of what these movements mean and the accompanying visualizations are much more helpful. Al-Rawi obviously has a passion for the dance and deep appreciation of the emotional release and the potential for expression that dancing brings. Seeing this is far more encouraging and useful than the step by step analysis of the basic movements.

The book switches track again and discusses the variations (floor work, using sticks and veils, etc) and rituals (trance dance). This part of the book becomes somewhat anecdotal again and the tone blends the textbook feel with a conversational tone. The information here stems from the cultural rather than historical and shed light on the background and meaning of many of the movements we do. I became interested again when reading this section and found myself again wanting to know more. A peak is all we outsiders usually get into this mysterious veiled society. I wanted more color and more detail than I was allowed and enjoyed every revelation.

The author’s goal of sending a message of sisterhood and understanding of ancient, earthy rituals is commendable, but overall Grandmother’s Secrets falls short. The flow is too disorganized. Grandmother’s Secrets would have worked better if it had remained on the track of the first and fourth sections. The historical and informational parts were educational and seemed like they should be in an altogether different book.

On a positive note, I am very happy to see this type of information being made widely available to the American public. I hope the message of Grandmother’s Secrets is revealed to and embraced by dancers and non-dancers alike, encouraging more searches and discoveries of this kind.

Before I met Yasmine in person, I knew of her by her glowing reputation. Once I met her in person, I could see why people sang her praises. She’s an entertaining dancer, strong teacher, thoughtful judge, belly dance studio owner, and all around nice person. In this interview she shares her experiences of what it is like to be a Middle Eastern dance studio owner.

Q: It’s quite an accomplishment to be a full time dancer and teacher. How did you know you wanted to do this full time? How do you accomplish it and still eat?

A: Well I have always been and entertainer and a teacher of some sorts. As a little girl I constantly entertained my parents friends and the people that my grandmother cared for. When I was in school, I assisted with kids ballet, tap, and jazz classes. Yes, I was a cheerleader too.

After college, I just found that working 9-5 job was not me. I really looked forward to what I was doing in my side entertainment jobs. My regular day job became frustrating and so I made the leap, developed my family entertainment business and also worked as a Ballroom dance instructor.

The Ballroom studio allowed me to belly dance at one of the showcases. The ladies loved it and asked if I could start a class. I did. Then other studios heard and approached me about classes at their studios. At that point, I decided to just concentrate on Middle Eastern Dance. After spending some years teaching in various studios, I finally opened my own studio in 2005.

It is not easy as I wear pretty much all the hats in running the business so there are some sacrifices. I don’t get to take lavish vacations and my pantry probably looks like it belongs to a college student. But seriously, I love what I do. It is my life. I do what I have to do, shuffle things around, barter, and take advantage of belly flea market. It can be stressful and exhausting at times, but I am so fortunate to have the students continue to walk through my door, and so I make it work.

Q: You also have a troupe. That requires a very different skill set and quite a lot of time. How do you manage to teach in your studio, teach workshops, dance as a soloist, promote your business AND run a troupe?

A: I’m a busy body. I always have been. Directing and leading troupes just also seem natural for me. I direct several troupes: My Magic Hips Dancers, my student troupe the Beledi Beat Dancers and together they form The Jewels of The Caravan and Mid East Magic Dance Ensemble for festivals and events.

The troupe members have been with me for quite some time. I have requirements that I have them read over prior to auditioning. I also have a contract they sign upon accepting the position so they know what to expect. The girls work hard to represent the studio and themselves and have fun and nurture each other at the same time. They push me to be better and creative. In turn, I push them. It is a different kind of dynamic and is an awesome feeling for me to see the vision I have come to life through them. They help me and contribute in so many ways and I am grateful for it. It can be crazy at times but putting together shows that can encompass so much variety is so worth it.

Q: You have been fortunate to co-teach with Carmine Guida, Issam Houshan, Karim Nagi and Souhail Kaspar. What drum solo secrets would you share with student dancers?

A: I love working with musicians and feel fortunate to have had the opportunity to work with all those musicians. I have always been drawn to drum solos whether choreographing for a group or solo improvisation. I think that learning to play basic rhythms on the tabla and practicing dance movement to rhythm CDs has helped me a lot with demonstrating and accenting the Dums, Teks, slaps and rolls in various drum solos. I also try to pay attention to “the bags of tricks” the drummers use. Although you will find each drummer has his own style, you will also hear some recurring “tricks” and patterns. So I’d say to students, just listen and try to respond to the sound and play the music on your body with movement.

Q: You got your degree in physical education. Does that influence the way that you teach? What teaching tools do you think help a belly dance teacher become a better teacher?

A: Well I have a B.S. degree in Physical Education with an emphasis in Recreation and Leisure Services Management. That has helped me in this field of business with creating lesson plans, booking shows and planning events.

When I teach, I keep in mind that not everyone that walks in the door has being a professional dancer as her ultimate goal. Whatever reason brought her there, it is important to know your students, why they are in the door and try to cater to that. I try to keep in mind that people learn through different methods and pay attention when the “light bulb goes on.”

I try to make to make the dance accessible to everyone, encourage them, get them moving and having fun. I want to be share what information I have with them whether it be about a movement, how I interpret music, other dancers they should watch and learn about, or favorite CDs & DVDs to use at home. Some want more and some want less so I try to design different classes to suit those needs. It can be trial and error sometimes, but it keeps me on my toes. I try to learn more and continue to be a student for my students so I always have something to give.

Q: Everyone gets burned out and/or discouraged from time to time. What keeps you inspired and jazzed about belly dance?

A: Well yes there is always that. We all experience it and have that good cry every now and again. Then we just take a deep breath and try to find the balance. When I need to recharge, I watch a movie. I am a Blockbuster fiend! Maybe in my next life I will be a movie critic. I have the love of my pets who are my children. My mom, dad and sister are there for long talks if I need them, but honestly I rarely need it. Seeing the kids, teenagers, and women feel so welcome at my studio, hearing what it means to them to be there, and watching how they change and develop as women and as dancers is awesome! Having students, as well as dancers outside the studio, come to me for advice, always being able to learn something new, hearing the music and being able to just let go in a performance and entertain, putting a smile on someone’s face, and hearing the love and support from the audience- all of this & more keeps me inspired and jazzed about being in this world of belly dance.

Q: What are your goals for the future?

A: Well, I am always on a journey and will continue to find new paths to take and grow in the dance. I hope to continue building & nurturing my studio. I would love to be featured in a DVD or 2 or 3 and would love to have a CD of music made especially for me. But right now I am really focusing on getting out there and teaching more and more workshops in and outside of the US. I’m ready.